Art is the membrane to what is not art.
Ruth Anderwald + Leonhard Grond

Thresholds all

This is the hinge, the pivot, the radical one-ness (from radix, the Latin root;
here also routed) that is the meeting of the two. It is present in everything
they have crafted, explicitly or not. This is work as potential. A threshold is a pause offered as a gift
of what is possible. Gareth Evans

Dizziness—A Resource

Dizziness can clear, cause a great stir, move heaven and earth – it destabilizes. In contrast to the English word ‘dizziness’, the German word Taumel refers to a broader semantic field, pointing to disorienting complexity and divergence as well as enjoyable or frightening disorientation, and can be used within positive, negative, or ambiguous connotations. The project Dizziness – A Resource proposes to regard dizziness as providing momentum and resources. The artistic research explores the role of dizzness in art and artistic practice, in philosophy and the cultural and natural sciences. Investigating the visceral experience of dizziness as well as its reflection the cross-disciplinary artistic research addresses dizziness in its physical, mental and metaphorical sense.

Remembrance

The word ‘remembrance’ is mostly understood as the ability to recall past occurrences or the act of remembering as a recollection or anamnesis, betraying a
scarcely recognised richness of the term. Remembrance includes the act, the power, the fact, the token, and the event of remembering.
A memory changes every time we recollect it. Like the photocopy of a photocopy of a photocopy we remember an event with the added imprints of its last recollection. If we do not revisit a memory in a long time, it becomes more and more vague and difficult to remember, until the neuronal connections and networks to its recollection are lost. Synapses and neurons in a neural network store a specific memory in a process that is called memory allocation. The connections between neurons are not static, but they change gradually. The more signals sent between two neurons, the stronger the connection grows. Thus, with each new experience and each remembered event or fact the brain slightly re-wires its physical structure. Memory is related to but distinct from learning, which is the process by which we acquire knowledge of the world and modify our subsequent behaviour.

Dazwischen Geschichte (History in Between): The project for Haus der Geschichte Österreich (House of Austrian History) encompasses
a photo series and a series of videos. Following the construction
process for the new museums’ space in the historical backdrop of Neue Burg, the former Emperor’s
quarters, later used as a hospital, as an administration building, as an
archive, collection and museum space the artists interrogate the implicit and obvious powers that structured and structure Austria. In these historical surroundings questions
of how Austrians were governed, how we want to be governed, and how we do not
want to be governed arise naturally. In fact, they have never lost their
currency and relevance. As the photographs follow the construction work
closely, the videos look at this process from a distance, taking into account in the
conflicts, controversies and expectations that surround this
museum since its first conception.

Baustelle Erinnerung (The Construction Site of Remembrance): In cooperation with the National Fund of the
Republic of Austria for Victims of National Socialism and the curatorial team
comissioned with the renewal of the Austrian exhibition at Memorial and Museum
Auschwitz-Birkenau we will accompany the construction process at Block
17, where the Austrian exhibition is located. The artistic documentation process will
focus on the laying bare and changing of the historic site throughout the
renewal process, as well as offering glimpses of the historic construction
that becomes visible only during specific stages of the transformation process.

Hasn’t it been a great journey so far?

What could it mean to live the life of an artist, and how can it be done? Is it a form of sleepwalking or a sullen selfassertion? How is it possible to unite literary, scientific or philosophical deliberations with visual art? The artist duo Ruth Anderwald + Leonhard Grond use the medium film as a tool to visually discuss the present with all its contradictions and inconsistencies, following the realization that to record images always correlates with a form of modeling reality. In their book, Ruth Anderwald + Leonhard Grond combine a comprehensive collection of their collaborative filmic work (1999 – 2013) with texts by authors who have accompanied them along the way.